The Ukrainian director who presents “Pamfir”, his first feature film at the Directors’ Fortnight, works to document the war that strikes his country.
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In Cannes, everyone calls him by his first name, Dmytro, because his name seems unponounceable: Sukholytkyy-Sobchuk. Long wicks on shaved neck, the 39 -year -old Ukrainian director and screenwriter is sitting on a beach of the Directors’ Fortnight beach, next to translator Anna Koriagina. His first feature film, the amazing Pamfir, is presented at the fortnight. Monday, May 23, the director and screenwriter climbed the steps of the Palais des Festivals with the other filmmakers who contribute to the Golden Camera, rewarding the first works.
shot in the west of Ukraine, on the border with Romania, this gangster and redemption film follows the broken fate of a man who lives smuggling, leading in spite of his son in his dark combins . A godfather, small mafia in its balance, a twirling staging which explodes in a carnival: this black work however suggests a glow for the new generation. The filming region, around Chernivtsi, is, today, “one of the safest places in the country, where refugees flock”, explains the filmmaker.
Economic survival
The main actors made the trip to Cannes: the youngest of them, Stanislav Potiak, who plays the son of Pamfir, carries a t-shirt barred from the word “Ukraine”. The main actor, Oleksandr Yatsentyuk, and Solomiya Kyrylova, who plays his wife, sits his eyes in the vague, in their beautiful clothes, between two photo sessions. When asked why he wrote this script, the filmmaker talks about economic survival. “It is the story of a man who puts himself out of law to earn more money, at the cost of his family life, because smuggling takes him away, sends him on the way. His wife does not understand Not, does not want that. Her husband may tell her “it’s the last time”, she knows it is a gear. “He adds:” This is called, in criminology, the Theory of unbeaned windows. If a person breaks a window, others will do it, and the situation will degenerate. Hence the need to penalize even the smallest crimes. In the film, the son embodies the balance between good and evil. “
The parents of Dmytro Sukholytkyy-Sobchuk were not moviegoers: “Two things were decisive in my journey,” he says. First there was this TV show called “Cinema arguments”, and then the video club – the silver fox! -, where I devoured the art and essay radius and the films of dogma 95 [a concept founded in 1995 by Lars von Trier and Thomas Vincterberg, in order to revolutionize the codes of cinema]. I thought I was going to take my camera and shoot a film like that, then I understood that it was work. I studied cinema at the University of kyiv, and I also have an architecture diploma. “
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